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| Britten: Death in Venice – Antony César (Tadzio), Frederico Saggese (Jaschiu) – Welsh National Opera (Photo Johann Persson) |
It was one of those evenings about which you can say ‘I was there’, Wagner’s Die Walküre at Dresden Music Festival as their historically informed Ring Cycle unfolds. And there was something astonishing about Olivia Fuchs’ new production of Britten’s Death in Venice for Welsh National Opera, too with its combination of theatrical and circus arts.
Strong individual performances were a theme throughout the year. A strong ensemble of singing actors made Welsh National Opera’s revival of Puccini’s Il Trittico a special treat. Kate Lindsey’s emotional roller-coaster performance as both Offreds anchored a strong revival of Poul Ruders’ The Handmaid’s Tale at English National Opera. Nina Stemme was back on form with a coruscating performance in the title role of Strauss’ Elektra at the Royal Opera House.
Stravinsky’s Rake’s Progress at the Grange Festival made us
really care for about the characters, at Opera Holland Park their
revival of their 2008 production of Puccini’s Tosca took us back
to the revolutionary 1960s. The youthful vitality of the cast was
compelling in Irish National Opera’s production of Vivaldi’s L’Olympiade. Opera North’s ‘in the round’ production Britten’s Albert Herring was wonderfully involving. And in Zurich, Benjamin Bernheim led a wonderfully memorable account of Massenet’s Werther.
Reinventing classics was another theme of the year with Jack Furness’ thought-provoking take on Hänsel und Gretel at the Royal Academy of Music, and English Touring Opera gave us a brilliant reinvention of Judith Weir’s Blond Eckbert, whilst Glyndebourne’s stripped down yet intelligent production of Bizet’s Carmen at the BBC Proms was highly satisfying. David McVicar’s iconic production of Handel’s Giulio Cesare returned to Glyndebourne as vivid and vibrant as ever thanks to a terrific young cast.
Sui generis, professionals & amateurs came together at Sheffield’s Crucible Theatre for Jonathan Dove’s The Monster in the Maze.
In a year when there was G&S at Opera North, English National Opera and Opera Holland Park, it was Opera North’s revival of Ruddigore that stayed in the mind. Still with comedy, Rossini’s The Barber of Seville was rather flavour of the Summer with new productions at Opera Holland Park, Waterperry Opera, and West Green House Opera where Victoria Newlyn’s new production was a complete delight.
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| Humperdinck: Hänsel und Gretel – Zahid Siddiqui (Witch) – Royal Academy Opera (Photo: Craig Fuller) |
- If you go down to the woods: a gender-fluid witch & an oppressive religious sect in this gripping performance of Jack Furness’ intriguing take on Hänsel und Gretel from Royal Academy Opera
- A thought-provoking take on the traditional tale made all the more gripping by terrific performances all-round in an evening that was vivid theatrically and strong musically
- A terrific achievement: professionals & amateurs come together at Sheffield’s Crucible Theatre performing Jonathan Dove’s The Monster in the Maze in celebration of Music in the Round at 40
- The first UK performance of Dove’s community opera since its UK premiere in 2015 in a magnificent celebration Music in the Round’s 40th birthday with ‘an epic opera for the people of Sheffield and with the people of Sheffield’
- An engaging evening of fun demonstrating the very real virtues of Gilbert & Sullivan at its best: Ruddigore at Opera North
- Sheer delight from start to finish as a first-rate cast brings out the musical delights and comic potential of one of G&S’ finest opera, ensuring we all left the theatre with a smile on our faces
- What lies beneath: a brilliant reinvention of Judith Weir’s Blond Eckbert at the heart of ETO’s exploration of German Romanticism
- A modern interpretation of German Romanticism at the centre of this intriguing and thought-provoking programme, full of terrific performances all round
- A special treat: strong individual performances & superb ensemble in WNO’s revival of Puccini’s Il trittico
- Partially re-cast, WNO’s latest revival of David McVicar’s fine production reveals a strong ensemble of singing actors with compelling performances including Natalya Romaniw on top form
- Prom 52: Intelligent, vivid account of Bizet’s Carmen from Rihab Chaied, Evan LeRoy Johnson & Anja Bihlmaier at Glyndebourne’s visit to the BBC Proms
- Strong cast, a stripped down yet intelligent production and superb conducting lead to a profoundly involving and musically satisfying performance
- Confidence and style: Victoria Newlyn’s new production of Rossini’s The Barber of Seville at West Green House Opera is a complete delight
- Performing the piece with real engagement yet never losing sight of the importance of Rossini’s music, the cast really gelled as an ensemble
- As vivid and vigorous as ever: David McVicar’s production of Handel’s Giulio Cesare returns to Glyndebourne with a terrific young cast
- Nearly 20 years old, the iconic production returns as vibrant as ever, with superb performances from a young cast
- Youthfully engaging: a visually stylish new Rake’s Progress at the Grange Festival made us really care for about these characters
- A combination of moral directness and engagingly youthful character gave this performance of Stravinsky’s opera a particular charm
- Back to the 1960s: Opera Holland Park returns to its 2008 production of Tosca and creates a satisfying evening in the theatre
- Transposed to the student ferment of Rome in 1968, this revival breathed remarkable life into the concept and showcased a trio of strong performances
- Doing Vivaldi proud: his L’Olimpiade performed with verve & imagination by Irish National Opera
- The youthful vitality of the cast was compelling in his highly imaginative version of Vivaldi’s Olympic opera that managed to mix entertainment with drama in just the right balance, plus stunning playing from the pit
- The journey continues: Dresden’s historically informed Ring returns with a revelatory Die Walküre
- One of those evenings about which you can say ‘I was there’. Revelations and riveting drama as the Dresden Music Festival unfolded the next installment of its historically informed Ring Cycle
- Something astonishing: Olivia Fuchs’ new production of Britten’s Death in Venice for Welsh National Opera involved a collaboration with circus arts, NoFit State
- Bringing music drama and circus arts together in Britten’s last opera to create something unforgettable anchored by Mark Le Brocq’s assumption of the title role
- As chilling and emotional as ever: Kate Lindsey returns as Offred in ENO’s strong revival of Poul Ruders’ The Handmaid’s Tale
- Kate Lindsey’s emotional rollercoaster performance anchors a strong revival of Poul Ruders’ opera
- Back with vengeance: Nina Stemme in Richard Strauss’ Elektra at Covent Garden
- Nina Stemme back on form with a coruscating performance in the title role in a new production that showcases the vividly dramatic performances from the entire cast supported by the orchestra on top form
- Let the dialogue flow: Benjamin Bernheim leads a wonderfully memorable account of Massenet’s Werther in Zurich
- One of those performances created by people who understood what is needed in Massenet’s opera with one of the most finely sung accounts of the title role that I have ever heard. Pure magic
- Eavesdropping on their dramas: Opera North’s ‘in the round’ production Britten’s Albert Herring
- A wonderfully involving revival of Giles Havergal’s intimate, in the round production of Britten’s comedy brings out the work’s humanity
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| Wagner: Die Walküre – Åsa Jäger, Simon Bailey – Dresdner Musikfestspiele (Photo: Oliver Killig) |
